XIII: Farm Buildings

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XIII Farm Buildings

Servitors: Ugesor, Peresh, Asorega, Saraph, Ragaras, Parusur, Alluph, Nogah, Alagas, Ogologon, Adon, Laralos, Gesegas, Aherom, Helel, Ramoras, Holop, Romages, Geloma, Lagasas, Alpas, Romoron, Negen, Nolom, Nagar.

The word at the outer edges of the square, MELUNAH, comes from the Hebrew מלונה (melunah), meaning ‘doghouse’ or ‘kennel.’ The word in the central cross derives from the name of the spirit Ugesor, which may come from the Hebrew גשר (gesor), meaning ‘bridge.’

The Vision

A field being furrowed by an old-fashioned plough appeared. Alongside it was an old Land Rover with an ‘R’ suffix in its licence plate. When they reached the edge of the field they headed into a large barn, the door of which closed behind them and were locked shut with a padlock and chain. Moving away from the barn, I moved towards a central courtyard of a farm that I recognised as one I spent much time on with my Aunt and Uncle as a child, though the buildings that surrounded it were not the same.

The first building was the locked barn I had left behind me. The second, to my left, was a chicken coop. Going clockwise from there, the third building consisted of a barred door which a German Shepherd stood behind. It had the appearance of a guard dog, but cried in excitement when it saw me, as though I were known to it. The fourth place, in front of me, was a house, the door of which was open and revealed a seductive woman hiding in the shadows inside. The fifth was a pen containing many cows and the sixth, to my right, was a church with a great shining cross glowing through its doorway. The seventh and final building, which was positioned behind me and just to the right of the barn, was a long, single-storeyed hall that was thick with shadows inside. This was the building I decided to enter.

Once I was inside, the door slammed shut behind me and I saw a table that almost ran the length of the hall. It was covered with a feast, with the most prominent food being the bunches of grapes that lay either side of a single candle, which was the room’s only source of light. I sat at the table, but before I could decide whether I wished to eat any of the food provided, a rasping female voice filled the darkness.

‘It’s interesting that you come here, to the only place where you didn’t know what lay inside,’ it said. ‘This is why you are suitable for this purpose.’ It proceeded to speak of many things with me, both asking questions and giving guidance, and I felt a sense of snakes crawling all over the floor whenever I spoke back to her.

Then, the bearer of the voice told me to take the candle that lay on the table, as it would be my only guide in the world of darkness ahead. First however, I had to burn my hand with its flame to prove my courage. As a point of synchronicity, there really was a single candle on a table before me in the ‘real’ world in which I sat in a chair performing this work, so, in both the astral and material planes, I picked up a candle with my left hand and slowly passed my right hand through it three times making the hair on the side of my hand burn. The smell created by that burning, the spirit told me, made an effective fumigation that would be suitable as an offering to spirits of an infernal nature, as would the smell of burning flesh. One of the questions it asked was why I didn’t descend into the spiral staircase ‘they’ had shown me in the vision of the Wild Animals. I answered that I had to wade through enough shit in my mundane life every day so didn’t wish to further taint myself needlessly. She told me that the filth of the material world was nothing to be concerned about as it could be washed away with ease and did not affect you once it was gone. The filth of the spiritual kind, however, was indelible and made one grow darker and more stained with every contact with it and nothing in existence could remove it.

The voice, though female, was deep and rasping, and I felt a large python winding its way up my right leg as she spoke again. Then she asked me to burn my hand again, and this time until I felt a degree of pain. I did this by placing my hand about six inches above the flame, where I left it for a few moments until I whipped it away.

‘One day,’ the voice spoke, ‘when your tolerance to fire becomes great enough, you will willingly set your whole body aflame to obtain what we offer. You would burn yourself into nothing to attain it, and in doing so you would become one with the infinite and know all the secrets that lie hidden in the great darkness.’

Then, in an instant, I found myself within the church I had seen in the western quarter of the farm’s courtyard. Inside, a black woman with short hair and wearing a silk garb the colour of lapis lazuli was leaning over a wooden rail near the altar and reaching to retrieve something from a bag. After a few seconds, she pulled out an egg and hurled it to the floor. A baby snake wriggled in its ruin, with the splattered albumen being the colour of blood. The black woman then turned to me and said ‘stamp on it!’ I refused and she asked me why with anger and annoyance in her tone. I stated that I believed the serpent was sacred, representing healing and wisdom and was the symbol and means for our path to gnosis. As I said this I noticed that there was a huge white statue behind the altar rail and the sun from a window to the east of the church was shining on its face to form a letter ‘T’ over its brow and nose. The woman, regarding the statue said that as I was in the church of He Who Trod The Snake Underfoot, it was my duty to do him honour and stamp on the snake. Again I refused and saw that the rest of the body’s statue took the form of a great giant with its sandalled foot crushing the head of a large serpent. The woman then fled from the church laughing maniacally and telling me I would regret my disobedience.

After she left, I noticed that the T-shaped shaft of sunlight came from a window of the same form high above. I stood in the centre of a circular chamber at the church’s centre and let the letter fall upon my face. Then, the letters I, S, A and S all beamed through another four windows spaced equidistantly around the dome that encircled the roof, with an equal amount of sunlight shining through each. All of the beams that came from these letters shone at once upon my face, writing the word TISAS on me, each letter merging into a single mass of sunlight. With the light blinding me, another female voice spoke, demanding that I place my candle down in the east before her and burn some item close at hand in its flame as an offering to her. This I did, and she instantly gave me some of her teachings though I can’t reveal more of the what she taught me here. Following her tutorage, a chorus of spirits danced and chanted lines the main female spirit prompted them to repeat in the church’s undercroft before I exited into sunlight to see a brief vision of a Magpie and a Swift before the vision came to an end.

Notes

The volume of information coming from this Square was copious, possibly due to its containing the names of twenty-six different spirits. The most dominant voice was that of a powerful female spirit, which appeared consistent throughout but grew significantly stronger when the five-lettered beam of sunlight shone through the church windows to illuminate my face. The word given in this part, TISAS, appears to form the outer edges of a new word square, with the name SIGIS fitting quite naturally into the central cross. Considering the appearance of dancing, chanting spirits in the church’s crypt after the appearance of these letters, it is possible that TISAS may derive from the Ancient Greek θίασος (thiasos) and the Latin derivation thiasus which denotes a congregation of singers and dancers gathered together in celebration.

TISAS

A mild synchronicity occurred after the vision, which ended with images of a Magpie and a Swift, when I hit the shuffle button on my music player to find the song Black Swift coming on.

At the beginning of the vision, an old Land Rover with an ‘R’ suffix appeared. In the UK, vehicles with this suffix would have been registered new between September 1976 and August 1977, which was the period in which I was born.

The appearance of the word Melunah in the square is interesting because the spirit who appeared as a horse in the previous vision gave its name as Melenhor, which was also the name of an old familiar of mine who I previously recalled demanding a human or animal bone to dwell within while it was in my service. It wasn’t until I began the preparatory work for this square the day after working with the one which caused Paddocks and Fields to be seen that I put this connection together. Melenhor’s name would therefore appear to be a derivation of this word which, meaning ‘kennel’ is relevant to a vision in which hunting dogs were prominent and is also befitting of a vision in which the images of farm buildings are evoked. A solitary dog appeared in the vision, but it seemed to bear no relation to the hunting hounds that appeared in the visual content of the previous square.

The interpretations I made of the meanings of the prominent names and words of the square didn’t seem to express themselves very overtly, with the dog kennel appearing only briefly and no real connection to the word ‘bridge’ appearing at all. Of the new names that appeared in this square, the following meanings may be attributed.

Holop – חלוף (cholup) – ‘transitory,’ ‘ephemeral.’
Alagas – Possible derivation of λαγάς (lagas) – ‘a hare hunter.’ See tags for Lagasas.
Alluph – אלוף (alup) – ‘domestication.’
Nogah/Nagar – נגר (nogar) – ‘fluid,’ ‘liquid,’ ‘flowing.’
Nolom – נעלם (nolom) – ‘unknown,’ ‘hidden,’ ‘disappeared.’
Parasur – Possibly from the Latin paras meaning ‘to provide.’ May also originate from פרס (peras) – ‘reward,’ ‘prize.’
Peresh – פרש (peresh) – ‘horseman,’ ‘knight,’ ‘rider.’ Also possibly of the same origins as the above, Parasur.

X. A Vineyard

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X SOREK

Servitors: Ragaras, Laralos, Gesegas, Ekalak, Lagasas.

The word at the outer edge of the square, SOREK, comes from the Hebrew שורק (soreq), which means ‘a vine,’ and was also the name of the valley in which the biblical Delilah lived (Judges 16:4). The central cross is formed from the name of the spirit Ragaras, which may come from the Hebrew רגע (raga’a), ‘break,’ ‘disturb.’

The Vision

The first image that came was of a dark red-brown heart surrounded by darkness. My form appeared, which was just as black as the surrounding pitch, and I saw that I was carrying the heart over my shoulder as if it were a shoulder bag with a string attached. Then I realised I was in a cave and could hear the sound of dripping water and could smell the earthy dampness of the stones that encased me. On seeing an aperture in the ceiling of a cave I set my intent on reaching it and saw a rope ladder descend from it, which I climbed. At the surface I saw a lush and leafy landscape, though the earth around the vegetation was rough and rocky. In the distance was the lake I have seen in previous descended from the promontory I was stood upon, and I sensed that the tree with the dragon in it was nearby too though couldn’t see it. I looked at myself and saw that I was wearing black robes and thought for a moment that I was the monk who had been struck by lightning in the previous vision, but unlike him I was wearing a hood and the skies above me were blue with no sign of any coming storm.

Moving across the landscape, my attention was drawn to the heart I was carrying over my shoulder. I considered eating it but saw that it was aged, tough-looking and falling apart with decay. It was split all along one side which I prized apart with my fingers to pull out something that looked like an avocado stone. This too, was corrupted by time and age so I pulled that apart too, then discarded the heart onto the ground. From the stone, a beautiful butterfly with wings that sparkled with sunlight emerged, as though from a cocoon. In wonder, I followed it, knowing it was leading me somewhere I had to go. In an instant I was there. A small grotto with a waterfall shrouded in thick vines. Drawing them to one side I entered a small cave in which a woman stood. She was surrounded with red and white grapes and was pressing the white ones into wine with her feet. She gestured at a bowl full of red grapes on the floor next to her and bade me to join in with her. I pressed the grapes with my feet until all that was left of them was liquid and mulch. Then, looking at the mulch in a big, congealed pile, I couldn’t help noticing how much it looked like a heart. I picked it up and looked at it and saw that it definitely was a heart, so slung it over my shoulder to replace the old one I had discarded. The woman then spoke to me, but I couldn’t comprehend anything she said as her speech was that of birds. Then, as in the first cave, a shaft of light appeared in the roof and I ascended through it and found myself on yet another small hill with the lush and leafy landscape surrounding me.

I headed towards the edge of the lake, where the skies were growing dark. The sun, I noticed, was undergoing an eclipse. I sensed that, like in the vision of A Snow, a sacrifice had to be made to the moon, so I took the new heart I had been given, climbed to the highest part of the cliff via another rope ladder with the cry of a nightjar filling the air as I climbed, then laid the heart on the floor as an offering, and realising I no longer had a heart, took the stone I had retrieved out of the old one and slotted it into a hole in my chest. As I departed the place of sacrifice, I was aware that many dark spirits were feasting on the heart. As this occurred, I had a strong sense that there were also lots of miniature black clouds dancing all over the square that I held I my hand in the ‘real world.’ In sacrificing to the moon, I understood that I was sacrificing to the spirits under its influence, the sub-lunar spirits, and they would reward me greatly for doing so. After noticing this, I saw a bright and golden angel standing before me. It looked at me, shook its head sadly and played a sad chord on a lyre. I asked it for its name and it replied that it was called Keranda. Then I asked for it to reveal its nature to me and it responded by ripping its chest wide open to reveal its true form. It had a red body, as though scalded by boiling water and a long neck with a horse’s head sitting atop of it. In the cavity of its chest was a flaming wheel where its heart should be. Its inner edges were lined with tongues of flame that made the wheel resemble the maw of a shark from the viewpoint of its victim, or of the tongues of flame that surround the outer edge of the wheel that Shiva dances in, only inverted, appearing on the inside of the wheel. In the centre of the wheel was a Chi Rho upon which a naked, bearded man was affixed, his limbs aligned with the ‘X’ of the Chi.

As he stood there with his burning heart exposed, the ‘angel’ spoke, telling me that the wheel represented desire and that it was the ‘ordinary man’ who was impaled upon it. By sacrificing my new heart and replacing it with the remains of the stone from the old one, I had undone its work. It told me that this sacrifice had been a mistake as although the spirits who received it would indeed be glad and grateful and repay me efficaciously, it was angered by my action. The butterfly inside my old heart, he said, was a manifestation of his light but having set it free and sacrificed the new heart it had led me too, I would now have to rebuild it anew. With that explanation, the angel was gone and I felt like the entire world was spinning on a great axis in the same way that the angels fiery heart had.

I looked over to the landscape I had ascended out of and realised it was all part of the underworld. The lake, the tree, the caves, the waterfalls. Everything of the past few visions had been the same chthonic place. Then I saw the land, all set between two high plateaus, becoming healed, with the mighty cleft being filled in with earth with sweet grass growing over it until the landscape became the same one that I had seen in the vision of A Beautiful Lawn and A Rose Garden. As I contemplated the world above again, the words ‘and Death shall have no dominion,’ formed in my mind. Then the image of a constellation shaped like a lobster appeared in the sky close to where I saw the eclipse. The moon was there alone now, for it was night and the constellations were bright, though it had not reached it yet. Then a fiery lion appeared briefly, and finally, beneath the Earth, I sensed the image of the dragon, now asleep, with the tip of its tail resting in its mouth.

The ‘angel,’ Keranda may have derived its name from Hebrew חרד (kharad), ‘anxious,’ ‘fearful,’ ‘to treble or quake,’ ‘to drive in terror,’ ‘afraid,’ ‘in awe,’ which also features in the square under the name KERAD or KERADA. Alternatively, considering the context, it may be related to the Greek καρδία (kardia), ‘heart.’ The name of the poem it seemed to quote, And Death Shall have no Dominion, is one I am minimally familiar with, having heard it being recited once, but I had never actually read it. It’s possible that an unconscious memory of it was grasped upon at the imagery of the man fixed to a wheel due to the poem’s lines ‘twisting on racks when sinews give way, strapped to a wheel.’ This is also the case with the legend of Ixion, which I was familiar with, though his being the father of Centaurus who shares a degree of similarity in his nature to the spirit Barbatos is of note as I have renewed an old relationship with this spirit recently. Just as Orpheus played a lyre to sooth Ixion’s suffering for a while, so too did the angel strum a lyre, establishing some further archetypal link to the legends of Ixion and Centaurus. The lightning that struck a monk dead in the vision of A Grape or Grape Plant may represent the fate of Ixion, whom Zeus eventually struck down with a thunderbolt. The name of Ixion (Ἰξίων) is of unknown origin but possibly comes from ἱκέτης (iketos), ‘suppliant,’ possibly due to his being the first murderer who would have then had to beg Zeus for mercy. Zeus granted him entry to Olympus by purifying him, but later sentenced him to an eternity on a flaming wheel due to his desire to seduce Hera. He is equated to the first murderer Qayin here, whose name is reflected in the Lemegeton in the form of the spirit Raum, who is called Kayne and has the form of a Raven, a bird with whom Qayin shares some folkloric qualities. Centaurus, the progeny of the mating of Ixion and the cloud, spawned the race of Centaurs after mating with the mules of Mount Pelion, where he exiled himself away from civilisation.

The lobster may have represented the sign of Scorpio, which it has sometimes been depicted as, with its claws, or those of the Scorpion, actually being the sign of Libra. With the vision of A Big Lake seeming to inform me of the importance of the north solstice to some kind of ritual offering I should perform, I checked the position of the moon out at the time of the solstice and found that it would be a waxing first-quarter, close to half, in the sign of Libra. While the phase doesn’t fit with that which I saw in this or the vision of the Lake, the fact that it is in Libra at this time—the sign which precedes Scorpio—may have been a confirmation that some rite should take place at this time. The eclipse suggests this rite should have both solar and lunar significance.

The only spirit name that appears in the square that has not already been covered elsewhere is Ekalak, whose name may derive from the Hebrew חלק (khelaq), meaning ‘portion,’ ‘part,’ ‘lot,’ ‘share,’ ‘fragment.’

VII. A Big Lake

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VII AGAMAGA

Servitors: Alogil, Amillis, Aril, Asorega, Asmiel, Geloma, Gesegas, Gorilon, Igarag, Isagas, Lagasas, Laralos, Liriol, Lomiol, Mara, Morilon, Myrmo (Mirmo), Oroia, Ragaras, Ramoras, Romages, Romoron, Sarasim, Sigis.

The word AGAMAGA at the outer edge of the square is a palindromic expression of the Hebrew אגם (agam), ‘lake,’ while the word forming the central cross relates to the spirit Morilon, whose name relates to the Latin Mori, ‘to decay,’ ‘die,’ ‘wither,’ ‘fade away’ ‘be forgotten.’ Although the Squares as a whole are not without errors of transmission, the fact that the letters in the square are not always perfectly symmetrical should not necessarily be considered as evidence of flaws, as the expression of the ‘titles’ of the square and of the spirit names contained within it—especially the spirit featured in the central cross—are more vital to their operations than lexicographical symmetry.

The Vision

This vision began with a voice from the darkness speaking the words ‘white wine,’ before the image of a golf club was seen striking a golf ball that lay on a lawn to send it flying a long distance away to splash into a lake. Looking down at the lake from above, I saw that it was still and shrouded in mist. I descended upon it and found myself in a small coracle-like boat armed with only a short paddle to navigate its expanses with. As I rowed at a ponderous rate, I became aware of large, placid fish swimming close to the surface and knew that there were hoards of treasure abandoned by wrecked ships on the lake’s floor. I realised, from this, that the lake must have been very large if trade ships sailed over it, so rose up over the scene to take stock of its scope and found myself on the edge of space before I could see all of its shores.

Left bobbing slowly on the vast lake, I found myself wishing that my boat had an engine but realised that although I knew such things existed, they didn’t exist in the world I was experiencing this vision in. It was then that I became aware of a deep, low rumbling noise, like that of a large earthquake, coming from the bottom of the lake. I grew afraid that I would be devoured by a tsunami, so looked around for some kind of refuge, should one come. Doing this, I saw a small island of shale rising up from the surface a short distance away so headed for it and climbed to its top in case the great tidal wave I expected came. At the summit, the shale slid away to reveal a large, lidless eye that was embedded within a toe where the toenail should have been. Attempting to avoid its gaze, I walked around to the back of the eye-toe but saw, from a third-party perspective, that the eye had rotated a full one-hundred and eighty degrees to keep following. I continued in my circle and witnessed the eye complete its rotation with me. With no more deep rumbles coming from the bed of the lake and feeling more afraid of the toe than of the tsunami in any case, I got back in my boat and continued rowing.

After a short time, I saw a large galleon sailing towards me. As it approached, I saw that its crewmen all had the faces of lobsters and shrimps—unclean animals in Judaism—whose gaze followed me in the same way that the eye on the island had. As the ship had almost passed, the last of its crewmen pointed out the direction in which I should sail, doing so as if he needed to keep his actions secret from the rest of his shipmates. Taking his advice, I altered my course until I came to some rocks. After reaching the shore and realising I had not been tricked into wrecking my boat and becoming stranded, I hauled my small vessel onto my shoulder and reached solid land. On the shore I saw the back of a scarecrow that I recognised as a mute, motionless ferryman who I had borrowed a boat from in a previous vision. This vision was experienced during a work which utilised the first square of Book IV Chapter IV of the Abramelin, which is used to create visions in mirrors, glass and crystals. Such was the scarecrow’s redundancy of power that a crow rested fearlessly on his shoulder, but I laid the boat at his feet anyway, noticing as I moved away from it that it now had a pumpkin for a head.

Moving inland, I had a flash of a vivid spirit with the head of a leopard. It called me ‘Bob’ and said words that sounded similar to ‘fonscor scollion,’ which made no sense to me at all. Then the image of the leopard-headed entity faded and I saw a dragon flying towards me over the lake. In fear, once again, that I would suffer harm from, I stood my ground and waited as it flew in to speak with me. It repeated the words I had heard at the beginning of the vision: ‘white wine,’ with which came the image of a chalice with a devil’s head carved upon it. Then the dragon spoke again.

‘When you drink this, you drink his guile and his wisdom,’ it said, then flew away.

As it departed, the pall that had hung over the lake lifted, revealing a bright sunset. From the position of the sun, I realised that the dragon had come from the south and was heading north. I thought of heading into its waters to retrieve the treasures I had sensed lying beneath its surface, but was prevented from doing so by a feeling of trepidation. Then, with the impression of a net of some kind being cast, the vision ended.

The leopard that appeared reminded me of the form of the spirits Haures, Sitri and Ose in the Lemegeton, and on inspecting the square, the name of the spirit Ose—who comes under the power of Amaymon, the King of the South, in the Book of Offices—is clearly represented in it. The phrase it spoke, ‘fonscor scollion,’ made little sense at the time, but may have been a transmission of the following Latin and Greek words: Fons – ‘fresh water,’ ‘a spring or fountain,’ ‘a source,’ ‘a well;’ Cor – ‘heart,’ or ‘soul,’ ‘mind;’ and Scolion – a type of Greek lyric poetry performed as a drinking song accompanied by a lyre. In combination with the appearance of the dragon advising me to drink the white wine that was mentioned at the beginning of the vision from a chalice with a devil’s head carved into, I believe this was an instruction of how rites to a certain spirit should be performed.

I feel this spirit may be Egin, the King of the North, who rides on a dragon. That the dragon flew away in the direction is relevant, but also telling, perhaps, are the names of two of the spirits that appear in this square and the name of one of Egin’s attendant spirits. The square’s servitors Ramoras and Romages have names that may equate to the Hebrew root word רעם (Ra’am), meaning ‘thunder’ ‘rumble,’ or ‘boom’ which account for the deep tremors I felt emanating from the bottom of the lake. Mathers, however, suggests that the former of these names related to the word ramaratz, meaning ‘raised ground’ which might relate to the mound of shale that appeared in the midst of the lake.

This possible etymology is also reflected in the name of the spirit Rodabell or Radabelbes, who is one of the servants of Egin in the Book of Offices. This name, like the ones mentioned above, relates to a Hebrew word רעדב (ra’adab), which has the meaning ‘tremor,’ and thus fits with the deep, rumbling quake that I felt and heard pervading the early parts of this vision. Considering this, it is possible that the dragon that came was the mount and servant of that King delivering instructions on how to pay him homage.

When the North Solstice and the Sun’s entry into Cancer that marks it arrives, an experiment will be conducted test these theories.

Other spirit names that appeared in this square and their meanings are:

Geloma – גלום (gelom) – ‘personification’ or ‘embodiment.’
Lomiol – לעמול (lomul) – ‘work,’ ‘toil’, ‘travail,’ ‘make effort,’ ‘take pains.’
Moreh – מרה (moreh), ‘bile,’ ‘gall.’
Romoron – from Latin Remoror, ‘delay,’ ‘linger,’ ‘loiter,’ ‘hold back,’ ‘hinder,’ ‘remain quiet.’
Asmiel – ‘destroyer,’ or ‘wrath’ of God. Possible truncation of Asmodiel, King of the East in the Grimoire of Honorius.

VI. A Rose Garden

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VI RODONIA

Servitors: Adon, Afolop (Apolop), Alogil, Alpas, Amillis, Apolion, Aril, Asorega, Gesegas, Gorilon, Igarag, Igilon, Isagas, Lagasas, Laralos, Liriol, Nagar, Nagid, Nasi, Negen, Ogologon, Oroia, Ragaras, Sigis.

The word around the outside of the square, RODONIA, has its origins in the Greek ῥόδον ‘rose,’ while the word in the central cross, OGOLOGO, apparent in the name of the spirit Ogologon, may represent a palindromic expression of the Hebrew root לעג (gol) – ‘scorn,’ ‘derision.’

The Vision

It began with a single red rose spinning in a black void. As it spun its petals peeled back until it became a phallus, then a heart. The heart explodes, scattering fire and blood in the darkness and making many other roses grow out of the darkness. They formed a circular boundary made of tangled thorns which then begin to spin, just as the first rose did, emanating sparks of fire as it spun like a Catherine Wheel. From the borders, rivulets of blood ran to a concave in the centre of the circle which, when collected, formed a vortex beneath my feet which I was compelled to descend into. I refused, as it was not my will to do so, and rose high above it. From above, I saw the channels from which the blood flowed, and saw them forming a cross of iron with a channel cut into the centre of each beam. This then doubled its arms to become an eight-sided cross, then sixteen, then thirty-two, then sixty-four. Then it became a circle and began to spin, yet again. Growing tired with the constant lack of control I was feeling over this tumultuous place, I banished the entire vision from my sight and stilled myself. I stated an affirmation in the stillness that I came to see a vision of a rose garden and that’s what I expected to see.

After doing this, I found myself in a bare and barren field and had the notion that roses required manure to grow and I would have to provide it out of my own being in order to make the land fertile. After fertilising the earth in my own way, a new rose garden started to form, but it was like a thick labyrinth of tightly bound rose bushes with vicious thorns. At this point, I told myself, ‘I am in control of this. This is happening in my own mind and I can put myself anywhere I want to,’ then transported myself far away, only to find that the exact same scene established itself around me again. The temptation, again, was to go downwards, beneath the earth, but I resisted and rose up into the sky again to look down upon what looked like a great, unending maze of rose bushes below me.

With nowhere else to go, I erased the scene again and floated in darkness. In that place, the name of the spirit Gesegas came to me, followed by an announcement that a Nigerian lady wanted to speak with me. I consented to speak with her and her voice came through in a soft, pleasant voice.

‘Don’t resist when I stroke you, sweetie,’ she said. ‘It won’t hurt much and won’t last long at all, I promise.’ I replied that she was not to touch me and had no consent to do so. I formed the intent to banish her, but was instantly met with the sense that doing so would not be possible as she was far superior to me. This was a point of some disturbance for me as, like I mentioned in the vision of A Pumpkin, I have had quite a few experiences on the edge of sleep or during Astral Meditation when entities or thoughtforms appear to want to ‘ride’ me in the manner of the lwa of Vodou. Often, they are female and of African appearance and speech. Resisting this as a threat—for I was not seeking to be ridden—I recalled the starry diadem I had received in the vision of A Beautiful Palace and made it appear on my brow, sending three beams of light into the surrounding darkness. I aimed the light at the place in the darkness where I felt the woman to be and illuminated her, making her yelp in pain. Sensing my advantage, I commanded her to depart in the name of the Four Kings. A sense then came to me that she could be commanded to go into the world and perform works according to my will. I gave her an instruction as a firm command and told her that when the work was done, she would be free of any obsession of me and, being liberated from it, would not return to me again.

Pushing my will forward again, I reaffirmed my intention and formed a new scene, making a pleasant lawn of grass appear with roses all around it. At the end of it stood a marble statue of Aphrodite. I was compelled to give a rose as an offering to her, but being unable to take one of the roses that surrounded me due to the thickness of their thorns, I produced one from my own being and laid it at her feet. The white stone of the statue took a flesh-like hue at this and she became animated with life, though she remained curiously statue-like. As I looked upon her, I saw that she wore a golden sash that looked like a wreath from her right shoulder to her left hip that appeared to drip with a golden dew. I looked at her face and saw that she looked a little like Raphael’s Venus. Then she spoke.

‘What do you want from us?’ she said. ‘Why do you keep coming to us?’ I answered that I came to learn from them and to witness them for what they were in order to elevate myself. The response came not from her but from a night-black figure, male with a heavy neck, shaved head and a face that appeared to have white symbols painted upon it. He spoken into my right ear, in a deep, harsh voice, that I couldn’t have spiritual and worldly growth at the same time. Then another male, identical to the first, leaned into my left ear and said: ‘He is material growth, I am spiritual. We are twins, but we cannot speak at the same time.’ With that, I saw the female statue, whose body was now entirely golden stood between the two, her hands clutching the backs of their heads, as though she controlled them as her slaves. At her bidding, the two men turned into black and brown dogs akin to Dobermann Pinschers and curled up at my feet.

‘Would you lie with the dogs?’ she said. I replied that I would, and sunk, supine to the grass. As I did so, one of them marked his territory on my leg.

After a short rest, a hole in the ground appeared again, and no longer resisting an underworld descent of some kind, I walked into the hole, which took shape as a spiral staircase of an old castle that led down to a dungeon. Lighting my way with the starry diadem of the Morning Star once again, I lit the bleak corridors and saw abandoned hanging torture cages lining the corridor, though this part of the castle had not been used for many years. After passing some large but docile spiders, I came to a grotto with large but scattered agaric mushrooms lining parts of the walls. Above, a shaft of sunlight burned through a fissure in the roof, illuminating a round patch of grass with a few red roses adorning it. As I stood on the grass patch, it began to ascend to the gap in the roof above like a great elevator, and I realised that this grotto was the underside of the great lawn I had seen in the vision of A Beautiful Lawn. As I rose into the sunlight, I noticed that it had a rainbow hue to it, and that I was now approaching the same scene I had witnessed in that vision but from an entirely different perspective. As the patch of grass I stood upon slotted back into place in the world above, I saw that this was indeed the same Lawn as that previous vision and that I had journeyed back in time to witness the same scene from the viewpoint of one rising from the world below back into the light of day.

In the final moments of the vision, I saw the face of the Nigerian woman again, but as a memory this time rather than as a present form. Her name, I recalled, was akin to Falino or Paleno. This name is a possible reflection of the Italian Palino, which derives from the Latin Palare, and its origin Palor, meaning ‘I wander up and down or about,’ ‘straggle,’ ‘stray’ or ‘I am dispersed,’ which fits in with some of the aimless wandering I found myself doing here as well as the dispersal she herself became subject to. This name may also be related to that of the spirit Apolion, who appears in the square and whose name means ‘destroyer.’ Women of African origin also appeared in A Hunting Party, though they were more benevolent and curious than this manifestation, who was malign in nature but pretending not to be.

The name of the spirit Gesegas, which came forth as a disembodied name in the darkness, possibly derives from געש (ga’ash) – ‘eruption,’ ‘quaking,’ ‘storm.’

The theme of holes appearing in the ground occurred in A Beautiful Lawn and A Hunting Party, marking a continuation of the themes of previous visions that only became apparent in the vision of A Beautiful Palace, in which I received the protective, light-emanating diadem of starlight that was of use to me here.

Of the twenty-three Servitors appearing in this square, all have already appeared in the other visions, with the exception of  Adon and Nagid, with Adon’s name being derived from אדון meaning ‘lord,’ ‘master,’ ‘ruler’ and Nagid coming from נגיד, similarly meaning ‘lord,’ governor,’ ‘leader,’ ‘ruler.’ These may be names used to invoke the appearance of the Elemental Kings, as the image of Aphrodite that appeared was similar, but not identical, to my visualisation of Oriens. Whatever her identity, this spirit certainly had an aura of command about her, which was evident in the way she required a sacrifice—as gods do, and indeed as Oriens does in the Book of Offices—by the way that she controlled the two servants who spoke on her behalf, by the way she held their hands fast in her hands and finally by the way that she turned them into dogs. It is also known that when Oriens appears, she comes in the presence of other great kings, including the spirit Baall and her messenger Femell.

An alternative etymology of the name of the servitor Aril (as Haril) given by Mathers is ‘thorny,’ which is more than accounted for by the thorny obstacles that barred physical progress at various stages of this vision.

The name of the spirit Laralos may be from that of Lara, the Greek nymph who had her tongue cut out for not being able to keep secrets, who was seduced by Hermes as he took her to Averna on the threshold of the underworld, which saw her giving birth to the Lares, or household spirits, as a result. Avernus was a volcanic crater in Cumae, the entrance of the underworld in Magnae Grecia, and fits thematically with bowl into which blood ran at the start of this vision as well as the constant pull to places beneath the Earth.

Other points of note about the square are the prevalence of the letter ‘O’ which may signify the double-repetition of the Hebrew word AIN meaning ‘Nothing’ in the upper right and low left-hand corners of the square. Also apparent in its corners are repetitions of the word ORO, which is similar to the Greek ούρο, ‘urine,’ which was represented in the vision by the dog relieving itself on my leg. Oύρο also forms a connection with the concept of the self-devouring serpent Ourobouros, which gets its name from its eating of its own tail and feeding on its own recycled effluence in order to survive. Symbolically, this occurred in this vision with the amount of repetitive scenes and cycles in its early stages, with its ultimate return to the first vision of the Beautiful Lawn, and with the requirement for me to defecate on barren ground in order to encourage roses to grow from it. The Venusian qualities apparent form a connection to the light of the Morning Star in the vision of  A Beautiful Palace and the Venusian symbolism inherent in the Rose.

V. A Beautiful Palace

IMG_4568.JPG

V ATSARAH

Servitors: Alogil, Liriol, Ragaras, Igilon, Sigis, Igarag, Haragil, Oroya (Oroia), Aril, Isagas

The Vision

All around me was the black of night, and from it a series of stars fell from the sky to form a dagger-shaped palace of starlight. It stood translucent until the sun rose in the East behind it, which made it shimmer with golden light and assume a more solid shape. Then Venus rose fast in the sky until it sat like a jewel on the crown of the palace’s peak. I walked towards the palace through the half-light of dawn, walking through a circular garden that bloomed with red roses at its borders.

Entering the palace, I found it to be bare, silent and dimly lit with the only light being that of the blue-grey of the early morning outside. I looked up to the tapering roof of the palace high above me to see the star of morning glowing bright there. Then I began to float towards it, gathering speed. Except I wasn’t floating at all, I realised, but growing in size so that my body began to fill the palace. When I stood fully grown, the light of the Morning Star sat upon my brow, where it emanated three equidistant beams of light into the sky around me. After this, I found myself growing again, getting larger and larger until I could see all of the world beneath me. Soon, the whole planet lay below me as I floated in space to look down upon its globe.

While in space, I looked directly at the sun as it sat distant in its black shroud and noticed it beginning to shimmer, as if it were in water. Then I discovered I was indeed looking at the sun’s reflection in a dark pool that lay back in the gardens of the palace. The light of the sun’s reflection grew brighter until the entire pool shone like liquid gold. A thought came to me to drink from the water, but I was warned from doing so by a sense that doing so would be perilous. Then a well at the edge of the pool drew my attention and I perceived that if I drew water from it, which would surely come from the same source, then I could drink it safely because wells were built to provide drinking water. I drew a wooden bucket from the well on the end of an old, brown rope and saw that the water it contained was ink black, thick and unpalatable. Thinking of purifying it, I took the bucket to the edge of the pool and scooped up a handful of golden water, which I poured into the bucket.

On doing this, the water in the bucket grew tumultuous, as if dark, violent storm clouds swelled within it. From the billowing clouds, white horses appeared which looked like those carved into the Trevi fountain in Rome. Behind the horses, however, was not Oceanus, but Apollo being drawn upon his chariot. The thought then came to me to pour the bucket into the golden pool to make it safe to drink from, but I was forbidden to do so by a foreboding sense of wrongness. Instead, prompted by the same urge, I covered myself with the hybridised water in the bucket with the sense that I could bathe in the golden waters if I did such a thing. After pouring it over myself, my skin shone with a golden film and I plunged into the pool. Rather than becoming deified by the water however, the water became polluted by the darkness I had brought into it. In such a state, the mixture of the pure solar pool and the turbulent sky-water represented the world as it was – a place of darkness and obscurity with enough light in its essence to absolve it from non-existence, but not enough to purify it entirely. Bathing in its waters, however, did seem to brighten the opaque folds that obfuscate the vision of the divine self in our day-to-day routines and experiences.

As the vision came to an end, I heard a voice describing the pool as ‘The Solar Fountain,’ followed by the words ‘his soul remembers,’ coming first as a song then as a spoken voice. The same voice then asked ‘do you play music like your dad used to?’ which made no immediate sense. Before completing the session a final flash came of a flag with a red triangle protruding sideways from the edge of the side where the pole would be threaded through from which four or five vertical red and yellow lines emanated.

For the first time, this vision appeared to be directly connected to one of the previous visions, with the clear glass palace that became solid with the light of the rising sun being the same as that which appeared in the vision of A Pumpkin. Its cited function in that vision—which was giving clear-sightedness—appeared to be fulfilled in the brightness of the Morning Star that adorned my brow and enabled me to experience a vision of the Divine Light and its obfuscation through the veils of the material senses.

Of the spirit names present in this Square, all except Oroya (spelled Oroia in the LBA manuscript) appear in the second square relating to A Beautiful Lawn, with Aril and Liriol also appearing in the fourth square relating to A Beautiful Garden. The name of Oroia was pertinent to the vision due to its origin in it the Ancient Greek word ὡραῖος, meaning ‘beautiful’ or ‘lovely.’ The name of the servant Alogil, who is a possible cognate of the Pseudomonarchia Daemonum’s Eligos and the Book of Offices’ Algor (due to his appearance in the second square of Chapter XXIX of the Abramelin’s fourth book, which makes armed soldiers appear), is apparent in the square’s central cross, while the words around its edge relate to the Hebrew עצרה (atsarah), meaning ‘assembly’ or its root עצר (atsar), meaning ‘restrain,’ ‘stop,’ ‘retain’ and ‘hinder.’ This appeared relevant to the vision due to the sense of foreboding that stopped me from performing certain actions when I was tempted to.

Of the remaining names present, I have tried to account for the meaning of the rest as follows:

• Ragaras – Hebrew רגע (raga’a), ‘break,’ ‘disturb.’ Mathers suggests a Coptic word denoting ‘to bow the head.’
• Igilon – Possibly from Ικελος (Ikelos), the name of a son of Nyx and Erebus, who was a Greek god of nightmares and often appeared in an animal or monstrous form.
• Sigis – Palindromic representation of the Hebrew סיג (sig), meaning ‘dross’ or ‘restriction.’
• Igarag – Possibly from Hebrew קרח (qarach), ‘frost,’ ‘ice,’ ‘cold,’ ‘crystal.’ This may account for the crystalline quality of the palace. Mathers suggests the Celtic carac, meaning ‘terrible,’ which is rather dubious.
• Isagas – Maybe from שאגה (shagah) meaning ‘roar,’ ‘shout,’ ‘yell.’ Mathers cites שגיאה (shagiah) meaning ‘error.’

II. A Hunting Party

 

Wild Hunt

Servitors: Nagar, Gorilon, Liriol, Asorega, Alogil, Ragaras, Igilon, Sigis, Laralos, Gesegas, Nasi, Tolet, Igarag, Aril, Lagasas, Kilik, Kokolon, Isagas, Soterion, Negen.

The linguisitic origin of the word KINIGESIA found in the outer lines of the Square comes from the Greek κυνήγι, ‘hunting’ combined with the suffix -ησία (-esia) which denotes the condition, situation, process or action of something.
The Vision

As the sitting begun, the name ‘Asugul’ came through very quickly, followed by a vision of a mounted fox-hunting party on the bridge over the canal near the entrance of London Zoo. Their leader, a sharp-featured, menacing man whose flesh was corpse-like in hue, approached me aggressively, making me think for a moment that I was their pray and that I should flee, but I stood my ground. As he came closer, he remonstrated with me, saying ‘you’ve got one of them haven’t you?’ As he spoke, I sensed he was hunting something that had escaped him. Not knowing what he was talking about, I denied having whatever he was hunting, but thought he may have been pursuing a familiar spirit who had escaped his custody. Then, on hearing a word that sounded like ‘spray,’ I saw that one of the party had a golden osprey on its arm, which it released into the sky. I followed its course with my mind and saw the world below from its point of view, feeling saddened by the fact that the bird was attached to a long cord and wasn’t free to do its own will. Looking down from its high viewpoint, I saw that there was no trace of whatever it was that the party was looking for. Returning to ground level, I perceived the other huntsmen as a congregation of pallid-skinned creatures with large, bright, yellow eyes gathering around me. At the same time, I also sensed them manifesting in the room around me as small black spots of shadow clinging to the walls.

Then the setting changed to that of a forest, where I saw an old, bearded man clad in grey being sitting on the back of a horse-drawn cart. His left arm was covered in blood up to the elbow and he seemed unable to walk by himself, as if he’d been injured. From previous works, I recognised this man as one of the guises of the spirit Barbatos, a forest-dwelling spirit with links to hunting due to Weyer’s description of him as appearing in Signo sagittarii sylvestris, or ‘as a woodland archer.’ As the old man was led away into the distant forest, I saw his face quickly change into that of a bear, then a lion, then a ram, then a boar then finally a hare. As the cart disappeared down the track, I saw the leg and haunches of a white hare darting away from the scene. Some distance behind the cart came a collection of white-robed, hooded figures who eventually came to a stop at a bear trap and threw a shrouded, human-shaped body into it. Before I could see anything else, the scene faded into darkness in which a line of black women walked before me. One of them was very curious about the square in my hand and asked to see it. I consented and opened my hand, leaving it balancing on my palm for the rest of the session. After doing this, the last of the women, who bore beautiful, Egyptian features approached me and said ‘sit steadfast and see.’ After this, the forest reappeared and I now saw that the body in the pit was that of a bear, not a human, as if it had changed its form after being slain. Around its carcass, fur-clad men gathering around it to eat its flesh and absorb its strength.

This was the last thing I recall seeing in the vision, which began to grow hazy and filled with nonsense words and fleeting images. This signified the time had come to give up and end the session.

The next morning, I noted a curious synchronicity relating to two people, one of whom had the surname of an animal and the other had a surname which was one letter away from the name one of the spirits of the Lemegeton. For privacy reasons, those persons cannot be named here. The most curious aspect of the vision, from my perspective, was the immediate reception of the name Asugul, which seemed familiar but yielded no significant results when a cursory Google search was run, and bore no direct relation to any of the Servitors’ names. Analysing the structure of this name, however, I noted its similarity to words of Semitic origin such as the Hebrew Az, goat, and the Arabic Ghûl, ‘ghoul,’ which is a demonic entity that robs graves and feeds on corpses. More significant, maybe, was the phonological similarity of this word to the Babylonian Assaku and the Sumerian Asag, which were malicious spirits who attacked and killed human beings by means of disease. In conjunction with the word ghûl—or xul in its more ancient, Mesopotamian form—Asag forms the new word Asaghul or Asaxul which, in this scenario, relates to a class of spirits that bring death then feast on the flesh of the slain. This new word, given in this vision as the name Asugul, coincides strongly with the function of the huntsmen who pervaded the scene as well as the fate of the bear that was fed upon as it lay dead in the pit.